Sunday, 3 January 2016

Perhaps the best way to disseminate my Paris Photo experience is through the photos I took whilst at the fair and elsewhere. After the visits were cut short due to the tragic circumstances that unfolded that fateful Friday night I am looking back at the things that caught my eye. This is a very informal roundup, but worth a peek!

The befitting angled connection between these two photographs illustrate how Frederick Kiesler's worked, in this case when photographing Marcel Duchamp's studio - especially when framed to show them at their best.

Notably printed by Berenice Abbott this is a beautifully rendered depiction of the creative chaos often found in the artists studio - the angles of the paper captured by the camera mirrored by the execution of the joined photographs. Tempered by the geometry of angles and multiplicity of of shapes within the composition - this trio of artistic connections satisfies on many levels. Seeds of his later work Endless House (1947-60) are evident here as reocuuring themes of architecture as a living organism made up of dead objects, somehow brought to life in this case by the camera.

In these works the carefully chosen frames fit the era - we forget how well this works in an age of white lines. Art Deco angles, geometry and hints of luxurious texture suggestive of elegant grandeur, subtly border these beauties. Placed next to each other the price difference may stand out yet the images compliment one another well. The closeness of the female subjects also have a hint of coy closeness that I find very charming.

And now for something completely different!In what have become some quickly snapped accidental selfies I couldn't resist recording David LaChapelle's carefully titled Aristocracy series. Floating model planes in dyed water had a high price tag, but I did love them. They are on the one hand quite vulgar with hints of spending many may deem offensive: the world of private jets & luxury travel etc...

Then there is the epic illusion he has created here through a simple devise - but inarguably effective to depict an impossible scenario with planes far too close together in multicoloured smoke/clouds (take your pick)...

Or are they just romantic, pretty, cheesy, bubblegum, pop art, a gimmick to attract the rich? When I spoke to fellow collectors the response to the aesthetic, price, subject were evenly positive & negative. LaChappelle has never been known for his quiet reserve, so why should he change now? I think these have all his usual drama, playful sense of colour & unashamed humour. The devisive nature of these meant my interest remained albeit cautious & time will tell as it alway does...

Masao Yamamoto

Edition of 20

Seeing this image in two different locations at two prices meant for closer inspections as to their condition (one was much better than the other) & pricing (this differed too) - but ultimately a stunning example of Yamamoto's enduring appeal.

No surprise here - but just look at the use of a stunning bird collaged using pins - fashion collides with the hand of the artist. Popular of course & again a physicality to the work that I saw as one of 2015's Paris Photo themes.

Laura Noble

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About Laura

Laura Noble is a London based Gallerist.
Author of 'The Art of Collecting Photography' and primary essays in the following monographs: 'Crazy God' by Yvonne De Rosa, 'Chrysalis' & 'Circus' by Anderson & Low, 'London' by Lluis Real.
Contributor to magazines including: Eyemazing, Snoecks, LIP, Photoicon, Image, Next Level, Foam & Leisure Center.
Editor at Large for Photoicon Magazine.
Director of L A Noble Gallery